Victory Pageant 
The Pageant of Light 



By 
Philip Gross 



Victory Pageant 
The Pageant of Light 



.llltllllllllllllllllllllllllllllllltllllHIIII 



By 
Philip Gross 






Copyright, 1919, by 
Civic Drama and Pageant Production Co., Inc. 



All rights reserved, including acting and moving picture 
rights in the United States and foreign countries. 



For particulars concerning performances or productions 

of this pageant, address : 

Civic Drama and Pageant Production Co., Inc. 

1482 Broadway. New York, N- Y. 



CLD 5 J 642 



mR 27 1919 ^ 



Contents 

Preface 

Foreword 

Staging 

Cast 

Music 

Dances 

Speaking Parts 

Epoch I. Light and Darkness 

Scene 1 . The dawn. 
Scene 2. Cain and Abel, 

Epoch II. Old World Conquerors 

Scene 1 . Alexander the Great. 
Scene 2. Julius Caesar. 
Scene 3. Napoleon. 

Epoch III. The Dream of World Conquest 

Scene I . The German War Machine. 
Scene 2. The Storm Breaks. 

Epoch IV. Despoliation 

Scene 1 . Belgium Attacked. 
Scene 2. Devastated Belgium. 
Scene 3. France Attacked. 

Epoch V. Europe Aflame 

Scene 1 . Ehe Allies. 
Scene 2. The Lusitania. 

Epoch VI. America Enters 

Scene I . The Call of America. 
Scene 2. The Answer. 
Scene 3. Victory. 

Epoch VII. Light Dominates 



Victory Pageant Page S 

Preface 

Pageantry or The Civic Drama 

For centuries there has been a groping desire for 
the Community Masque or Civic Drama. It dates 
back to the early Greek drama, where the Chorus 
would act as the Voice of the scenes being enacted by 
groups, either on the stage or in a processional among 
the spectators. 

Our modern pageantry began with the early Eng- 
lish Processionals and Christmas Pantomimes, but it is 
now being developed along rather different lines, both 
in Europe and America. Prominent authors in Eng- 
land and here, have written beautiful examples of the 
Pageant and Masque, in the production of which set 
stages are used, in some cases exclusively, although in 
others, the processional is still clung to as an addition 
to the acts on the stage. 

But, during the years of 1917 and 1918, Page- 
antry, the Civic Masque or Drama, like many other 
forms of the newer arts, was shelved for the greatest 
drama the world has ever beheld. 

Now, with the crash of battle over, with ideas of 
equality and democracy taking root, with the feeling 
emanating from man to man of a closer relationship to 
one another, with the community itself, closer knit, the 
ties of race and creed almost entirely gone because of 
the purge of fire that devastated Europe, and purged 



Page 6 Victory Pageant 

the world of the hypocrisies and petty animosities that 
so long held us in thrall, today marks the awakening of 
a new spirit. It is the beginning of a new dawn. The 
old ideas are being swept away, and we are looking 
upon one another in a new light. We behold in our 
neighbor a kindlier visage, we see in our own views of 
the world, a more ethical aspect. We are beginning 
to have a greater pride in our own community, (the 
Liberty Loan and other drives stimulated that), we 
are more anxious to become w^orkers for the Goal of 
Things Worth While, and Pageantry, or the Commun- 
ity Masque and Drama, will truly have an awakening 
that will make this form of civic expression as powerful 
an influence as our newspapers and our current liter- 
ature; for Pageantry is a form of expression that lends 
itself to the entire community. 

To know that a whole community can give express- 
sion to its deepest feelings of joy and pride in itself and 
its nation; to be able to see history repeating itself in 
all the glamor and splendor of the past, by the unfold- 
ing, in a gigantic drama, of all the main chapters of 
the past with their promise of the future, gives us, in 
Pageantry, a form of expression that leaves a monu- 
ment erected in the memory, which lives as though it 
were carved in stone. 

The VICTORY PAGEANT is written with such an 
intent. In showing the w^orld-old struggle between the 
forces of Light and Darkness, it proves to enlightened 
mankind that the everlasting struggle has not been in 
vain; that those who have gone before have not died 



Victory Pageant Page 7 

in vain ; that our nation is truly the torch-bearer of light 
in all its multitudinous meanings. To show with what 
beauty and power a community, with its environments, 
no matter how small or how large, can lend itself to 
such an expression, is the purpose of THE VICTORY 
PAGEANT or PAGEANT of LIGHT. 



Victory Pageant Page 9 

Foreword 

The pageant will convey, in a series of moving 
epochs and scenes, the world-old struggle between 
light and darkness. LIGHT, symbolic of justice, free- 
dom, truth, everything that light conveys to the minds 
of the free men and women. DARKNESS, that great 
spirit of evil which has so often engulfed the world in 
despair, drenched it in blood, hurled civilization back 
into the dark ages, and stopped the progress of light. 

The principal figures in the pageant are: LIGHT, 
a v/oman dressed in the white garments of a nun, 
DARKNESS, the figure of a half-human, half-ape man, 
who personifies autocracy, hate, malice and envy 
working on the minds of the weak, berating, cajoling 
even the strong until he has won their confidence, and 
even they become the tools of his hellish machinations. 
These two figures begin with creation and carry their 
struggles down to the present day, each one for a time 
holding his sway over the world and then losing in the 
struggle while the other ascends to power. 

Staging 

The pageant is staged indoors on a huge stage. 
The entire rear of the stage and one half of the depth 
is covered by a drab cyclorama which takes the place 
of all rear wings and the back drop. It is lighted by a 
number of small flood lights set at an angle around the 
base of the cyclorama. Colored gelatine slides are 
used with these lights to get any shade or tinge to the 
cyclorama, such as a rosy dawn, suggestive of the com- 
ing day. Against this background there are placed set 
rows or profiles of buildings, etc. Most of the scenic 



Page 10 Victory Pageant 

effects will be produced by lights. Also, against this 
background the larger tableaux, massed formations in 
themselves scenic effects, will take place. About half 
stage are two black drapes at right and left, which will 
mask one half of the width for smaller tableaux. 
About one-quarter stage a full black drape will be used 
for such scenes as do not require full stage room. The 
entire stage will be lighted by flood lights from the 
balcony, the color schemes being worked out with 
colored slides. 

The pageant may also, and much more effectively, 
be staged outdoors. A natural amphitheatre should 
be used having trees or shrubbery at the rear of the 
stage, against which natural background can be placed 
the profiled sets. 

Cast 

The entire cast takes from one hundred fifty to 
five hundred people according to the size of the com- 
munity presenting the pageant. In the first scene for 
instance, the number of children may be anywhere 
from twenty to one hundred. If possible the largest 
numbers should be used in all cases to make the scenes 
most effective. 

All the parts with the possible exception of the 
figure of DARKNESS may be taken by amateurs, the 
success of the pageant depending more on skillful 
direction than on the histrionic ability of the individual 
actors. 

Music 
Tlie music of the pageant is produced by an orches- 
tra of symphonic capacity. 



Victory Pageant Page 11 

The score is arranged to completely synthetize with 
the dramatic and scenic actions, producing mood and 
atmosphere throughout the entire performance. The 
large orchestra is the VOICE of the pageant, creating 
the deepest appreciation of the stage pictures. 

Dances 

The dances, done mostly by children, are descrip- 
tive interpretations and chiefly chorus numbers. 

Speaking Parts 

The speaking parts are few, mostly composed of 
soliloquies. 



Victory Pageant Page 13 



Light 



Epoch I 

and Darkness 



5cene / . {Full Stage) The Dawn 

As the curtain rises, the stage is in absolute dark- 
ness and a voice is heard calling — "And there shall be 
light, and there was light." A faint glow is seen at 
the center of the cyclorama, and as the light becomes 
stronger, we see the figure of LIGHT holding aloft a 
crystal ball. The cyclorama takes on a rosy hue, sug- 
gesting coming day. The stage is being lighted by the 
floods from the balcony. In front of the figure of light 
are rows of children kneeling on the stage. They are 
covered by black drapes. As the light broadens, the 
children turn these drapes inside out, and they are 
white. As they rise, they hold the white drapes in 
front of them. When the full stage is fully lighted, we 
find a suggestion of light as personified in these smiling, 
childish faces. 

Into this symbolic tableau of light, come the figures 
of ADAM and EVE, untouched and unsullied as yet 
by worldly wisdom. Suddenly, off stage, is heard a 
faint rumble, like thunder in the distance. All faces 
turn toward the sound with a look divided between 
consternation and fear. There bursts upon this group 
the figure of the half-man, half-ape, a hideous smirk 
upon his face. In his hand he holds an apple. He ad- 
vances toward ADAM and EVE, and offers them the 



Page 14 Victory Pageant 

apple. ADAM turns away. EVE looks at the apple 
with an appraising eye. ADAM has turned his head 
aside. EVE takes the apple and offers it to ADAM. 
He refuses at first, but finally takes it and raises it to 
his lips. As he does, there is a crash, and all is dark- 
ness. 

Scene 2. {Quarter Stage) Cain and Abel 

CAIN, under the taunts of the spirit of EVIL, slays 
ABEL, and stands aghast at his crime, as the figure of 
DARKNESS, with a smirk upon his face, steals off 
st£ige. 



Victory Pageant Page IS 



Epoch II 

Old World Conquerors 

Scene I. {Full Stage) Alexander the Great 

To the right stands a set piece of a Babylonian 
tower, to the left stand sets of two massive columns. 
The cyclorama is an azure blue, the entire stage is 
flooded with an orange cast from the floodlights. 
Standing between the tower and the columns, are 
twelve to fifteen girls dressed in Babylonian costumes. 
They first stand in frieze pose, then go thru a Babylon- 
ian dance. After they exit, two Grecian soldiers enter. 

First Soldier — "Hast heard the news?" 

Second Soldier — "Nay." (pause) "Surely naught 
has befallen Alexander?" (with restraint). 

First Soldier — "Yea, alas, Alexander is no more." 

Second Soldier — "So even he, the mighty Alex- 
ander must give way to the elements, he that e*en 
conquered the Gordian Knot, unconquerable before 
all, must be conquered by Him that is unconquerable." 

First Soldier — "Yea, even, even so." (bows). 

Scene 2. {Quarter Stage) Julius Caesar 

As curtain rises, we hear the music of heraldry 
horns. Then enter from right and left on stage, two 
heralds, who face the audience at their respective en- 
trances. We hear sounds of cheering from left on 



Page 16 



Victory Pageant 



stage, and the procession of CAESAR enters. First, 
two banner-bearers, bearing the banners of the house 
of CAESAR, who dress stage at the center; then two 
Roman soldiers, followed by CAESAR, Anthony, 
Calpurnia, Portia, Decius, Cicero, Brutus, Cassius and 
Casca. 

Caesar — Calpurnia I 

Cassius — Peace, ho! CAESAR speaks! 

Caesar — Calpurnia ! 

Calpurnia — Here, my lord. 

Caesar — Stand you directly in Anthony's way, 
when he doth run his course, An- 
tonius! 

Anionius — CAESAR, my lord! 

Caesar — Forget not in your speed, Antonius, to 
touch Calpurnia, for our elders say 
the barren, touched in this holy 
chase, shake off their sterile curse. 

Antonius — I shall remember; when CAESAR 
says, **Do this," it is performed. 

Caesar — Set on, and leave no ceremony out. 

Soothsayer CAESAR! 

Caesar — Ha! who calls? 

Casca — Bid every voice be still. Peace ye 

again. 

Caesar — Who is it in the press that calls on me> 
I hear a tongue shriller than all 



Victory Pageant Page 17 

music, cry — "CAESAR!" "CAE- 
SAR I" Speak, CAESAR is turned 
to hear. 

Soothsa})er — Beware the Ides of March I 

Caesar — What man is that? 

Brutus — A soothsayer bids you beware the 
Ides of March. 

Caesar — Let him before me, let me see his face. 

Cassius — Fellow, come from the throng. Look 
upon CAESAR! 

Caesar — What say est thou to me now? Speak 
once again! 

Soothsayer — Beware the Ides of March! 

Caesar — He is a dreamer — let us leave him. 

(From Scene 2, Act I, Shakespear*s Julius Caesar.) 

They exit in the formation in which they entered. 

Scene 3. (Half Stage) Napoleon 

This shows a scene amidships. NAPOLEON 
stands looking out upon the sea, his dream of WORLD 
EMPIRE gone. Behind him stand two officers of the 
British navy of that period. 



Page 18 Victory Pageant 

Epoch III 

The Dream of World — Conquest 

Scene /. {Full Stage) The German War Machine 

In the center of the stage, against a background of 
azure-blue, stands a chariot, heavily built, with great 
spokes in the wheels, and a heavy body to the car. 
Chained to each other, then chained to the tongue of 
the car, are some thirty or forty German soldiers who, 
in turn, are held in leash by reins in the hands of the 
KAISER, who stands proudly in the car. Behind him, 
stand the figures of the Crown Prince and Von Hinden- 
burg. Although their faces represent the faces of 
human beings, they are also made up to represent the 
face of the animal which seems to possess their individ- 
ual character — such as — The KAISER, the wild boar, 
etc. In the car is the figure of the spirit of DARK- 
NESS. He is whispering in the ear of the KAISER. 
Suddenly the KAISER cracks his whip and with a crash 
and a grinding of wheels, the great German w^ar- 
machine goes forth. 

Scene 2. (Quarter Stage) The Storm Breaks 

As the curtain rises, we see the figure of Pan dress- 
ed in the garments of a faun. He sings, "The Flower 
Garden Ball", and as each flower is mentioned, a child 
dressed in garments to represent that flower, enters 
and takes its place in the formation, until the stage is 
apparently filled with flowers in full bloom, about late 
summer. Then, from right and left on the stage two 
children dressed as butterflies enter, who do a dance 



Victory Pageant page 19 

among these flowers. As the dance is finished, 
we hear the dim booming of cannon, and the stage is 
dimmed as the figure of MARS enters. The children 
begin nodding their heads, the butterflies fold their 
wings, the flowers droop and fall, and MARS advances 
to the center of the stage, and holds aloft his arms. 
There is a crash, and the lights are out. 



Pagi 20 YictoTy Pageant 

Epoch IV 

Despolitation 

Scene I. {Full Stage) Belguim Attacked 

The cyclorama is colored an azure blue. The set 

pieces show a Belgium farm, the house, the barns. 
Beside the stone wall are seated an aged couple, peace- 
fully talking. Their son, the apparent owner of the 
farm, stands leaning on his rake. It is Angelus time 
and the farmer and his wife, who has been tending to 
her plants, turn their thoughts to their boy who has 
been a wanderer for years. A farm hand is sharpening 
his scythe. A milk maid is carrying the evening's milk 
into the house. Two younger children are playing 
about. All that is needed to make the scene one of 
absolute contentment is the return of the wandering 
son. 

Off stage is heard a faint whistling which proves 
to be La Brabanconne, the Belgian Folk Song. The 
mother listens, recognizes the voice and turns with out- 
stretched arms as her beloved son enters and embraces 
her. The boy then greets, less demonstratively, his 
father while his mother wipes away her tears. The 
grandparents come forward and the younger brother 
and sister, rather embarrassed, join in the greeting. The 
whole group crowd about him while he recites his ad- 
ventures. At this moment the youth's boyhood sweet- 
heart enters with her arms full of flowers. She catches 
sight of her lover and an involuntary cry of joy escapes 
her. Then, as tho feeling herself to be an intruder, she 
starts to turn away. The father turns emd sees the girl 



Victory Pageant Page 21 

standing outside the group of happy folk. He rushes 
to her, takes her hand, and leads her, while she bash- 
fully protests, to his son. As the two sweethearts greet 
each other the rest of the family draw back to leave 
the couple alone in their happiness. 

Suddenly a deep rumbling is heard off stage. All 
turn in surprise. The cyclorama is turning red. Hie 
rumbling becomes a heavy booming. The grinding of 
wheels emd noise of cannon is heard. As the women 
scream and the men stand as if to defend their homes 
the great German War Machine crashes into peaceful 
Belgium. 

Scene 2, {Quarter Stage) Devastated Belgium 

The stage is draped in black. The solitary figure 
of PLEADING BELGIUM appears. 

Belgium. 'Triends of BELGIUM. BELGIUM 
calls. The Neutrality of BELGIUM has been violated. 
Our cities devastated by Hun hordes, our women cind 
children maltreated. The blood of BELGIUM, the 
bonds of humanity call to you. Can you not hear? 
Answerl Answer! Lest we perish 1" 

Scene 3. {Full Stage) France Attacked 

The scene is laid in the center of a little village of 
northern France. At the rear of the stage is a set piece 
of a cathedral. It is fete time, the time of the year 
when the harvests are gathered and the spirit of festival 
is strong in the Latin races. 



Page 22 Victory Pageant 

The villagers are gathering and are being welcomed 
by the Padre with his benevolent smile and his bless- 
ing. The young couples enter bedecked with flow- 
ers and greet one another in French style by a kiss on 
each cheek. The air is filled w^ith laughter. Some 
girls come in alone and are met by their swains who 
escort them to nooks and corners to tell the old, old 
story. The older people are met with cries of welcome 
as they arrive and are led to stone seats about the 
walls. The square is being rapidly filled when strains 
of music are heard and the children enter in their best 
dresses or in the grotesque costume of the carnival. 
With flowers and wreathes they march onto the stage 
in a procession, then break into groups and commence 
dancing with all the joy and abandon of the sunny- 
natured French. 

As the children dance the cyclorama is taking on 
a tinge of red, foretelling the flames of war which are 
speedily sweeping toward these happy people, uncon- 
scious of the terrible calamity which is about to over- 
take them. Again the deep rumbling is heard, which 
increases in volume until the German War Machine 
dashes into the joyous scene. Belgium's stout resist- 
ance is seen by the marks on the men and the chariot. 
The Padre raises his cross. The women scream and 
run. The men are cut down by the German officers. 
A great cry is heard and the cyclorama is a vivid red 
as the curtain drops. 



Victory Pageant Page 23 

Epoch V 

Europe Aflame 

5cene /. {Full Stage) The Allies 

In the center of the stage sits COLUMBIA spin- 
ning. She holds the woof in her hand, giving her mind 
and time to industry. One by one figures dressed in 
the costumes of and representing the Allies enter. Each 
is accompanied by men in the uniform of her army 
and navy. In a short speech each allied nation de- 
clares v^hy it is entering the world war, then turns and 
enters beyond the red cyclorama. COLUMBIA re- 
mains seated at her spinning, listening but unconcerned. 

FRANCE enters first with a soldier and a sailor 
and marches to the center of the stage. 

France. "Our old enemy, cradled and suckled 
at the breast of Militarism, hate and intrigue, and 
blighted with devotion to the belief that "Might is 
right," has grown to dimensions that makes the world 
stand aghast, and with the sword of murder in one 
hand, and in the other the flaming brand of destruc- 
tion, goes forth to impress her stamp upon the free peo- 
ples of the world. FRANCE can do no other; she 
w^ill give all, all in man-power, all in wealth, all in de- 
votion, that they shall not pass thru our beloved coun- 
try. They shall not pass! Vive la FRANCE! Vive 
les Allies!" 

FRANCE marches toward the rear of the stage and 
passes thru center of the cyclorama. 



Page 24 Victory Pageant 



GREAT BRITAIN enters second, with a sailor and 
an English, Canadian, Australian and an Indian soldier, 
and marches to the center of the stage. 

Great Britain. "As one of the great world 
powers, my nation has stood for liberty ever since 
the signing of our own great Magna Charta in 1214. 
Equally strong has ever been our sense of national 
honor. Reasons of policy might well keep us out of 
this war. The cries of bleeding BELGIUM and muti- 
lated FRANCE might fall upon deaf ears, but never 
has GREAT BRITAIN failed to recognize the sacred- 
ness of international treaties. And now, her appeal 
to Prussian autocracy to spare the world being denied, 
the Hague councils ignored, her sacred treaties called 
"scraps of paper,** and neutral BELGIUM invaded, 
British honor calls to her insular manhood and to her 
children across the seas; and from the remotest corners 
of the earth, Canada, Australia, South Africa and In- 
dia, her mighty forces hurriedly assemble and plunge 
headlong into the fray. Policy, royalty, family ties, 
treasure, we freely lay upon the altar of national 
honor.'* 

GREAT BRITAIN marches toward rear of stage 
and passes thru center of cyclorama. 

ITALY enters third w^ith a soldier and sailor, passes 
to center of stage, salutes by dropping Italian flag, turns 
and passes thru center of cyclorama. 

The other Allies follow. 



Victory Pageant Page 25 

Scene 2. {Full Stage) The Lusitania 

COLUMBIA is again spinning. Brought before 
her in the arms of a woman representing the sea, is the 
body of a drowned child. She half turns and sees 
the symbol of the Lusitania. For a moment she seems 
horror-stricken, but again returns to her spinning. The 
center drapes are pulled aside, showing the reddened 
sky, with smoke-pots burning beside the floods, giving 
the effect of flame. The German war machine is in 
the center of the stage, with grinding wheels and stamp- 
ing feet. The body of the car is covered with dirt and 
spattered with blood. On the wheels are apparently 
bodies of the dead. COLUMBIA turns and sees, she 
drops her woof, turns over the spinning wheel, rises 
to her feet, draws the sword from her side, and screams. 



Page 26 Victory Pagean 

Epoch VI 

America Enters 

Scene I. (Quarter Stage) The Call of America 

On one side of the stage is the profile of a city 
street with various stores and other buildings. On 
the other side of the stage appears a country lane with 
a wheat field in the foreground. Dividing the two 
scenes is a small kiosk or Grecian temple. It is decor- 
ated w^ith the insignia of our government. It has two 
latticed doors which are closed. 

On the city street are seen various types of young 
Americans to be found in any of our large cities. 
There are the young men about town with their silk 
hats and afternoon attire, the business men discussing 
their affairs, the mill workers, the newsboy, the mes- 
senger boy, the student, the tough, and the anarchist or 
Bolchevist soap-box orator harangueing the crowd 
while the figure of DARKNESS stands behind and 
whispers in his ear. 

In the country scene are the various country youth, 
the ambitious one and the laggard, the young man 
at the plow, the boy with a hoe, the boy stealing away 
to go fishing. 

On either side incidents of every-day life occur. A 
game of dice among the newsboys is interrupted by the 
strong arm of the law. Street singers perform for us. 
The Salvation Army Band comes on the scene. 



Victory Pageant Page 27 

Suddenly on top of the kiosk appears the figure of 
COLUMBIA, her hair streaming down her back, wild 
eyed and with sword in hand. The men stop their 
activities in city and country, turn toward COLUMBIA 
and stand looking; at her with the respect and rever- 
ence every Ameri^n feels when the symbol of his be- 
loved democracy appears. 

Columbia. "Sons of America, we are now about 
to accept the gage of battle from this natural foe 
to liberty, and shall, if necessary, spend the whole 
force of the nation to check and nullify its pretensions 
and its powers. 

"This is a war against all nations. American 
ships have been sunk, American lives taken, in ways 
which it has stirred us very deeply to learn of, but the 
ships and people of other neutral and friendly nations 
have been sunk and overwhelmed in the waters in the 
same way. There has been no discrimination. 

"We will not choose the path of submission, and 
suffer the most sacred rights of our nation and our 
people to be ignored or violated. The wrongs against 
which we now array ourselves, are no common wrongs; 
they cut to the very roots of human life. 

"The w^orld must be made safe for democracy. To 
such a task we dedicate our lives and our fortunes, 
everything that we are, and everything that we have, 
with the pride of those w^ho know that the day has 
come when America is priveleged to spend her blood 
and her might for the principles that gave her birth and 
happiness and the peace w^hich she has treasured. God 
helping her, she can do no other. America calls."— 
(From speech of President Wilson.) 



Page 28 Victory Pageant 

As COLUMBIA'S speech is concluded the young 
men begin trooping thru the now open doors of the 
kiosk. Some enter bravely, some brazenly, some hesi- 
tatingly, some are pulled thru by others. The last to 
enter is a handsome, tall, young man who is with a little 
old lady, his mother. Hand in hand they walk to the 
doors of the kiosk. He looks a question at her. She 
nods her head. The boy passes thru the doors leav- 
ing his mother with hands outstretched looking dumbly 
up at Columbia. 

5cene 2. {Full Stage) The Answer 

The kiosk is in the center of the stage. About it 
in a group of triangular form are a large number of 
American soldiers in full equipment, with rifles at the 
port. The men are marking time as tho marching out 
of the kiosk, the finished product of the draft, with 
the flaming curtain in the rear suggestive of the war. 
The kiosk seems moving thru the men who mask in at 
the sides, and it appears that the figure of COLUMBIA 
on the kiosk, sword in hand, is flying over the heads 
of her soldiers, leading them on to victory. 

Scene 3. {Quarter Stage) Victory 

The figure of VICTORY holds the crown of vic- 
tory, after which there is the dance of victory about 
her by five or ten girls. 



Victory Pageant Page 29 

Epoch VII 

Light Dominates 
{Full Stage) 

The sky is still red, but changing into a pink. To 
the right of the stage stands the figure of LIGHT on 
a pedestal. About her are grouped the Allies. To the 
left of the stage on a pedestal stands the figure of 
DARKNESS. He holds aloft the unchristian, blood- 
stained scimitar. About him stand the figures of the 
great German war machine, the Kaiser and his disci- 
ples. Suddenly, at the base of the cyclorama begins 
dimly to radiate the figure of a star, the star of hope. 
As it rises higher in the heavens and it shines with an 
added brilliancy, we hear the prophetical words: 

"A day shall come when ye shall beat your swords 
into plowshares, and your spears into pruning-forks, 
and no one shall lift a sword against another; neither 
shall ye learn any more war; with righteousness shall 
ye judge the poor, and with equity reprove the meek 
of the earth. The wolf shall dwell with the lamb, and 
the leopard shall lie down with the kid. The calf 
and the young lion and the fatling shall lie down to- 
gether, and a little child shall lead them. Ye shall not 
hurt or destroy, for the earth shall be as full of knowl- 
edge as the waters cover the sea; therefore, my breth- 
ren, have hope, faith and charity." 

The star has reached the center of the cyclorama, 
in full radiance and brilliancy. There is a crash. The 
half-ape, half-man falls, and with him the entire Ger- 



Page 30 Victory Pageant 

man war machine seems to crumble and fall. From 
right and left onto the stage dance the children with 
their white dresses, masking the chariot and the figures 
of the German war machine. The cyclorama is 
again the rosy hue of dawn. The stage is filled with 
light, and we hear an invisible choir singing the song 
of thanksgiving. 

FINIS. 



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